1. Blood on Blood
2. We werent born to Follow
3. You Give Love a Bad Name
4. Whole lot of Leavin
5. Born to be my Baby
6. Lost Highway
7. Raise Your Hands
8. Runaway
9. When We Were Beautiful
10. Superman Tonight
11. We Got It Going On
12. Bad Medicine ~Roadhouse Blues
13. It's My Life
14. Love's the Only Rule
15. Lay Your Hands on Me (Richie)
16. Hallelluja
17. I'll be There for You (Jon & Richie - Circle)
18. Something for the Pain
19. Someday I'll be Saturday Night
20. Have a Nice Day
21. Work for the Working Man
22. Who Says you Can't Go Home
23. Keep the Faith

Encore
24. Dry County
25. Wanted Dead or Alive
26. Livin on a Prayer

Belle Set Liste, bon choix de chansons, mais c'est à Montréal qu'il y a eu le plus chansons, sincèrement je croyais que Chez-eux au New-Jersey, ils étaients pour battre Montréal. Mais quand même ils ont fait 26 chansons à comparer avec Hershey, il y a en eu plus.

Espérant qu'à Bercy il en aura autant.

Merci pour les vidéos

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Video HD ouverture + blood on blood
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C'est le grand événement autour de New York
Un florilège de reviews

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Tout a été très bon ms ils auraient pu se servir des nouveaux écrans du stade ...

Citation:

With this week's an nouncement that the New Meadowlands Stadium would host the 2014 Super Bowl, Jon Bon Jovi knew he had to put on a powerful show not to be upstaged. At the first performance of the sold-out four-concert series last night, the forever-young singer and his band of Jersey pop giants christened the shiny new stadium with a rollicking extravaganza of light, sound and performance energy. The band's effort made everyone forget football until Bon Jovi expressed his gridiron desire, saying, "I wouldn't mind seeing the Jets play the Giants in the Super Bowl here, either." [Vous devez être inscrit et connecté pour voir cette image][Vous devez être inscrit et connecté pour voir ce lien] border="0" alt="" /> Daydreams aside, the band was in top form and made the 55,000-strong crowd roar. There was enthusiasm in the seats and on the stage at nearly every turn in the two-hour-plus show -- even wrongheaded cheers when the audio glitched out for a couple of minutes during the mid-concert rendition of "Runaway." Bon Jovi is expert at generating fan/band synergy, especially when he's on home turf in Jersey, but last night, he fanned the simpatico fires by repeatedly asking, "Are you with me?" They were with him, partly because the acoustics in the new stadium are excellent for a big bowl. In fact, they are markedly superior to those at the old digs. There's less sonic bounce, so the echo has been mostly eliminated, and it seems the volume doesn't have to be cranked quite as hard to reach the back wall and the upper decks. The stadium also has a state-of-the-art video system that actually wraps around the bowl, but Bon Jovi didn't take advantage of that amenity -- instead employing his own video behind the field-wide stage that was set up in the end zone. That circus of behind-the-stage images was a perfect marriage to propulsive rock songs like the new "Work for the Working Man," as well as time-tested hits like "You Give Love A Bad Name" and the encore, "Wanted Dead or Alive." During this series-opening show, Jon's vocals sounded slightly gruffer than usual. Chalk it up to over-rehearsing, or maybe even allergies, but the added deepness in his voice worked to his advantage on "We Got It Going On." That quality also fit well with "Bad Medicine," which drifted into a credible cover of The Doors' "Roadhouse Blues." The vocal deepness lent those tunes classic hard rock muscle. Guitarist Richie Sambora also was in good form and was flashy during his many solos. He was brash on older material, such as the finale, "Livin' on a Prayer," and he also was able to play with surprising finesse during an acoustic mini set. All in all, Bon Jovi played a slick, let-the-good-times-roll concert that, judging by Jon's wide, toothy smile, pleased him as much as it delighted the fans.

Sur celle-ci, il y'a les vidéos pro de Bad Name, WWBTF etc ... en bas de page
Sinon, tt ce qu'a gardé le groupe de sa période hard, c'est le jeu de scène. Et bien leur en a pris ...

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Citation:

It was a spirited rendition of "Bad Medicine," and Jon Bon Jovi was working the crowd. Here was the rocker as consummate showman, throwing arms and elbows, pouting for effect, cupping his hand over his ear in faux exasperation with the audience enthusiasm level, whomping them up into a frenzy, asking for more. [Vous devez être inscrit et connecté pour voir cette image] The crowd at New Meadowlands Stadium ate it up like the candy it was. Each false ending -- and there were many, including a detour through the Doors' "Roadhouse Blues," during which the stage was lit up to look like a gigantic jukebox -- drew wilder applause, louder screaming, wider smiles. Early in their history, Bon Jovi was considered a metal band; a lite one, to be sure, but metal nonetheless. It was the mid-'80s, and if you wanted to play with the big boys in the stadiums -- and Bon Jovi always had those aspirations -- a metal edge was optimal. Bon Jovi shared much with the heavy metal bands of the period: a developed sense of theater, a passion for overstatement, and a taste for glorious bombast. But they've never had any time whatsoever for metal's nihilism. Even when he's sung about getting shot through the heart by the arrow of bad love, Jon Bon Jovi can't help but be positive. As he's gotten older, that positivity has ripened into a motivational impulse worthy of a preacher. Many of the songs on "The Circle," the band's latest set, seem meant to embolden the flagging spirits of listeners. In his later songwriting, Jon Bon Jovi frequently has returned to the same theme: it's his life, he's only got one, he's going to live it his way, he's going to live before he dies. His audience, which has reached that tenuous, scary, ambiguous territory of midlife with him, echoes his sentiments. Other newer songs of his, like "Superman Tonight" and "Work For The Working Man," are sociopolitical statements. "We need more of a We Decade and less of a Me Decade," he told the crowd between songs. Some 55,000 Mes roared their assent. The older songs -- particularly those from the occasionally overlooked "New Jersey," the band's most consistent set -- were indisputably more fun than the newer ones. But if bad boy Bon Jovi is in short supply these days, the frontman's good-guy persona has its own charm. His stage camaraderie with guitarist Richie Sambora and synth player David Bryan was a pleasure to watch. When he gave the lead microphone to drummer Tico Torres ("the first time in 27 years," he told the audience), it felt like a good turn done for a old friend. The two and a half hour set at New Meadowlands closed with a fireworks display that bathed the stadium in red and gold light. It was spectacular. But the most memorable moments of the set were the simplest ones -- when the frontman let the crowd sing along to old favorites, stepped back from the mic, and shone that 48-year-old smile on the congregation. Consider: the stadium sound cut out for a full minute during "Runaway," and even that not-inconsiderable screwup couldn't put a damper on Jon Bon Jovi's mood. Or the mood of his fans.

Un petit repotage vidéo :

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Les finitions ne sont visiblement pas complètement terminées. Le système audio du stade s'est arrêté une minute pendant Runaway

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Citation:

[Vous devez être inscrit et connecté pour voir cette image] With the rubble of the old Giants Stadium kicking up dust next door, concertgoers filled New Meadowlands Stadium yesterday to watch Bon Jovi christen the $1.6 billion complex with a sold-out concert that heralded a new era in New Jersey sports and entertainment. Jon Bon Jovi took the stage at 8:45 p.m., raised his fist in the air and launched into stadium-shaking renditions of "Blood on Blood," "We Weren’t Born to Follow" and "You Give Love a Bad Name." "The New Meadowlands Stadium: I like it, I like it, I like it. Out with the old, in with the new," Bon Jovi told the crowd. "I get to be the first guy to get on a big microphone and say welcome to the home of the Super Bowl!" On Tuesday, the 82,500-seat stadium in East Rutherford was selected to host the 2014 Super Bowl in a vote that will bring one of the world’s biggest and most lucrative sporting events to New Jersey. Concertgoers said the Super Bowl news made attending the New Meadowland’s inaugural concert even more historic. "A lot of memories in the old stadium, but we are looking forward to many to come — especially the Super Bowl," said Brian Davis, 35, of Brick, one of the first to arrive. Bon Jovi ran into a few opening day problems. A planned military fly over never happened. The stadium’s sound system also cut out for nearly a minute during "Runaway." The group kept playing as if nothing happened as one fan yelled "Sound check!" and the rest of the crowd attempted to make up for the missing music with their own voices. The band ended its set with an elaborate fireworks display around 11 p.m., then returned to the stage for a series of encores. Around 11:30 p.m. the closed the show with "Wanted Dead or Alive" and "Livin' on a Prayer." As they sang the final song, the band took advantage of the stadium's much-touted visual technology and played homemade videos of fans singing along to the song. It was a long day for many fans who began rolling into the parking lots at 1:45 p.m. — six hours before the opening took the stage — to tailgate in the heat and humidity and say their last goodbyes to the old stadium. Bruce Springsteen and the E Street Band closed down 33-year-old Giants Stadium in October, ending their show with an encore performance of "Jersey Girl." Bon Jovi, which had previously opened the Prudential Center in Newark in 2007, was chosen to give a repeat performance at the new football stadium. Nicole Clements and her husband paid $175 each for their tickets to see Bon Jovi. "A hometown boy opens the first show at the new stadium, how appropriate," said Clements, 38, of Cranbury. Many ticket holders arrived early to check out every inch of the new stadium before Train, the opening act, took the stage shortly before 8 p.m. The gleaming new building includes 22 luxury suites, four giant video screens and 20 video pylons with high-definition screens. Fans were also happy to hear the new building has 40 percent more bathrooms than the old stadium. John Stewart, who attended dozens of concerts and games at Giants Stadium, said he noticed fewer lines outside the rest rooms. "In the old one, you had to race to these two rows of porta johns during the intermission," said Stewart, 47, of Miami. "Here it’s been easy." But fans also found the new stadium is still a work in progress. Many features, including a 350,000-square-foot entertainment plaza outside the stadium, won’t open until football season begins. There were other opening day problems including ticket scanners that malfunctioned at the gates and food kiosks that delayed opening so workers could master the new equipment. Many ticket holders also griped that their first memory of the new stadium will be the $25 parking fee they were charged as they pulled into the parking lot. Inside, they paid $4.75 for bottled water, $8.75 for beer and $15 for sandwiches. "It’s a couple bucks more than I’m used to, but my beer was nice and cold," said David Arnett, 23, who flew in from Minnesota to be part of the stadium’s concert debut.

Soit c'est le tic commun de Jon de dire ça ms il a dit "Il n'y a pas la tv ce soir, levez le c*l de vos chaises". Dc la tv pour les autres soirs
Sinon, pas de doute qu'on s'en souviendra de ce concert. Qu'ils s'en fassent pas

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Citation:

Twelve songs into this christening — his hair soaked, his face bathed in a glistening coat of sweat — Jon Bon Jovi offered his review of the show. “It’s a good thing there isn’t a roof on this place,” he told the crowd. “I’d be about blowing it off.” Thirty years from now, he suggested Tuesday afternoon, nobody will remember who opened this $1.6 billion stadium at Exit 16W. He confessed he had no idea who opened the old Giants Stadium. Hmmm … think people will remember the first show at the new Meadowlands stadium? [Vous devez être inscrit et connecté pour voir cette image] Set list Blood on Blood We Weren’t Born to Follow You Give Love a Bad Name Whole Lot of Leaving Born to Be My Baby Lost Highway Raise Your Hands Runaway When We Were Beautiful Superman Tonight We Got it Going On Bad Medicine/Roadhouse Blues/Shout It’s My Life Love’s the Only Rule Lay Your Hands On Me Hallelujah I’ll Be There for You Something for the Pain Someday I’ll be Saturday Night Have a Nice Day Work for the Working Man Who Says You Can’t Go Home Keep the Faith Encore: Dry County Wanted Dead or Alive Livin’ on a Prayer Think people will remember Richie Sambora shrugging off 86-degree heat, electrifying the crowd with his guitar during “You Give Love a Bad Name”? Think people will remember when Jon walked to the edge of the runway, leaned into the crowd, and softly covered “Hallelujah”? Think people will remember when the speakers briefly went dead and the crowd lifted the band on its shoulders during “Runaway”? OK, so the new stadium still has some wrinkles that require ironing. But on the first night, the marriage between the 48-year-old rocker and the newborn stadium seemed like a perfect fit. “New Meadowlands stadium,” Jon screamed at the crowd two songs into his set. “Night No. 1. This isn’t television, baby. Get up out of your seats. Get out of your seats. This here’s reality. And the only American Idol you need to see is standing right here. Are you with me? Are you with me? Are you with me?” He followed that by launching into “You Give Love a Bad Name.” The band has a touring résumé that would make other artists blush — Central Park, Night 1 at the Prudential Center — but opening a stadium this size in the group’s home state belongs near the top. Jon walked out at 8:46 p.m. in a black vest, sensing the import and seizing the stage. His first song, “Blood on Blood,” would not have been our first choice. But the early half of his set also included plenty of wonderful echoes from his past — “Born to Be My Baby,” “Raise Your Hands,” and “Runaway.” Later in the set, he invited Sambora out on the runway, where they performed a duet of “I’ll Be There For You.” “It’s 21 years ago we played the stadium across the parking lot,” Bon Jovi told the crowd before the song. “To think that we’re still standing after three decades of this is pretty darn good.” He paired an unlikely song with two tour staples for the encore, closing the show with “Dry County,” “Wanted Dead or Alive” and “Livin’ on a Prayer.” At one point earlier in the set, he pretended to peer deep into the night — at the fans, but also at the stadium. “The new Meadowlands stadium,” he said. “I like it, I like it, I like it. Out with the old, in with the new, right? We’ve been looking forward to this date almost as much as you have, maybe even more.” It showed. Train kicked things off at 7:26 p.m., offering an 11-song, 51-minute appetizer that included “Meet Virginia,” “Calling All Angels,” “Hey, Soul Sister,” and “Drops of Jupiter.” Lead singer Pat Monahan belted out an emotional version of “When I Look to the Sky,” a song he said he routinely dedicates to the troops. Bon Jovi resumes its opening run here with gigs on Thursday and Saturday, before returning to the stadium for a fourth show on July 9.

Un assortiment de vidéos chez la FOX

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Finalement, si la véritable sincérité, ça serait d'en donner au public pour son argent
Une statue pour Richie et Jon sur Broadway !!!

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Citation:

Fifty-five thousand fans knew what was coming next. They’d heard the radio hits from the ‘80s and ‘90s, the favorite album sides, the covers, the relaxed, familial acoustic interludes. They’d marveled at the gigantic high-definition screens at the New Meadowlands, and they’d watched a fireworks display paint the sky over the new stadium red and gold. After that, they’d called Bon Jovi back onstage with a thunderous ovation: there was unfinished business here, an important ritual yet to be observed. It was still Christmas morning, and one last gleaming present under the tree needed to be unwrapped. And after the last notes of Richie Sambora’s winding, Western-style guitar lead to “Wanted Dead Or Alive” faded into the East Rutherford sky, the roar began: louder than anything we’d heard all night. The frontman smiled, nodded slowly, cast his gaze around the sold-out house. He knew what the cheering was for. And accompanied by nothing but Tico Torres’s thunderous kick-drum, he launched straight into the chorus of “Livin’ On A Prayer,” the Sayreville group’s most famous song. Some bands run scared from their biggest hit. Bon Jovi are not such a band. They’re crowd-pleasers, dream-chasers, populists; they aim straight for the sweet spot. There was never any question that their two and a half hour concert – the first of four at the new Stadium, including one that will take place tonight – would climax with a rendition of “Livin’ On A Prayer”. Jon Bon Jovi’s business is giving his audience what they want, and because he does, reliably and with enthusiasm, he’s earned the faith of millions of devoted listeners. If you’re from New Jersey or anywhere near it, you already know the crowd reaction to “Livin’ On A Prayer”: it was nothing short of pandemonium. Arguably, the song has supplanted, or at least supplemented, Springsteen’s “Born To Run” as the state’s unofficial anthem. The story of the working-class couple Tommy and Gina – one Jon Bon Jovi has revisited time and again his in later writing – has achieved a rare resonance. In what was the only truly imaginative use of the New Meadowlands’s touted video system, Bon Jovi wrapped the stadium in images of people singing along to the defiant chorus. It felt like a window opening on a world that had been touched by the power of the song: not only were the concertgoers shouting out the lyrics, but so were people of all ages and races, all over the globe. Some were metalheads, some were grandmothers, some were pop brats; many couldn’t possibly have been born when “Slippery When Wet” was released. Bon Jovi, good students of rock history and practitioners of the grand gesture, have, through “Livin’ On A Prayer” achieved something timeless. The band saved their best for the encore set. In addition to “Prayer,” and “Wanted Dead Or Alive,” they sent one out to their hardcore fans, performing the often-requested, ten-minute “Dry County,” a quasi-political peak-oil lament from 1995’s “Keep The Faith”. Much of the crowd, eager for the “Slippery When Wet” hits, waited patiently through the mid-tempo ballad – one which has sometimes been compared to “November Rain.” But those in the audience who’d seen Bon Jovi before knew they’d been given a special treat. The group was up to the challenge, and Sambora’s solo on “Dry County” was scalding. The veteran rock guitarist isn’t above indulging in mid-Eighties lite-metal cliché. He still likes to punctuate verses with single, quavering, overdriven high notes. But on Wednesday night, his leads were particularly lyrical: his spotlight moment on “Wanted Dead Or Alive” demonstrated everything Sambora does well. He can still crash into a song like a stallion kicking down a barn door. When he slows down – which, admittedly, isn’t too often – his solos can be melodic, soaring, cathartic. Sambora’s musical dialogue with drummer Tico Torres and synth player David Bryan has grown more sophisticated over the years: these guys really seem to respect each other, and more importantly, they listen to each other. Bryan remains the group’s not-so-secret weapon. His piano stabs, sweeping organ, and occasionally burbly synthesizer have always marked Bon Jovi as a hard rock band apart: one with a broader vision and instrumental palette than the typical Turnpike hard rockers. Bryan’s instruments were wisely mixed at the Meadowlands: just loud enough to provide color and character, but not too loud to undercut any residual claim on gruff metal authenticity the band might still have. The flamboyant frontman remains the star. His is a voice that could easily play on Broadway: no matter how rough the material gets or how much he hollers, he maintains his tremolo and his pure pitch. If he occasionally sings platitudes (“who says you can’t come home,” “I’m going to live before I die,” many others) and comes on with the subtlety of a B-1 bomber, his broad-stroke painting remains vivid. He hasn’t conceded any of his wattage to the advance of the years, either – his lungs are just as powerful now as they were in the mid-Eighties. This musician takes his craft seriously; he’s in terrific shape, and while he broke a sweat in the late-May heat, he never looked winded.

Jon, le Peter Pan du glam rock

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Ah ms en fait, il dit "Levez-vs car ce n'est pas de la télévision". J'avais pas compris ça

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